A modern mirrorless camera reminds Glenn Fleishman of the joys of analog, manual photography in the best ways.
The iPhone 4S isn’t a revolutionary phone, but it combines several bits of advanced technology into what looks like a compelling upgrade.
Charles Maurer describes a fundamental problem with today's digital cameras, provides some insight into a professional's approach to photography, and reviews two small cameras that he recently bought.
Many publications review digital cameras but they don't tell you as much as they seem to. Charles Maurer explains the problems with these reviews and suggests a different approach to buying cameras.
We've been living with digital cameras for years now, but when editing digital photos, we're still largely imitating the effects and manipulations that were developed in the days of film. That's no longer necessary. In this article, Charles Maurer explains an intrinsically digital approach to photography that doesn't mimic film processes or require pixel-by-pixel manipulations.
Camera manufacturers make a big deal about how many megapixels their cameras have, but does it really matter? Or ought we be looking at other aspects of the camera's image sensor?
Adobe Photoshop reminds me of a camel: a horse designed by a committee. It is ungainly and awkward to control. It is remarkably useful - no other photo editor will do so much - but it is not an easy beast to ride.
I personally find Photoshop indispensable, not so much because of what it can do itself as because it is necessary to run some plug-ins by Asiva, particularly Shift+Gain
Photos on a computer may look nice, but they're hard to tape to a refrigerator door. Sooner or later, most people who buy a digital camera hanker for prints and a photo printer - and then for aspirin once they start trying to figure out which one to buy
People often ask me if I think digital photography is as good as film or will ever become as good as film. I reply that for all but a few special purposes, digital is better already
My wife Daphne likes to look at snapshots and I don't like to take them, so 25 years ago I bought her a camera. She could never get decent pictures out of the thing, so I bought her another - and another and another and another
In my last article, "Sense & Sensors in Digital Photography," I tried to cut through some of the mythology about image sensors and bring some sense to the subject
In another incarnation I was a commercial photographer. At the end of that life I sold all of my studio equipment and all of my cameras save one, a Horseman 985, a contraption with a black bellows that resembles the Speed Graphic press cameras you see in pre-war movies
A cynic might be tempted to say that there are two categories of photographer, those who admit they have problems matching colour, and liars. Matching colour ought to be simple, according to the ads, yet it rarely seems to be.
The problem is not you, the problem is that colour is astonishingly complex
I have two modes of taking pictures: point-and-shoot and perfectionist. In the first mode I use a pocket-sized camera with no manual controls. It processes the pictures, I throw them onto my hard drive, and the only editing I'll ever do is remove some occasional red-eye